The great thing about 70′s UK Soul pioneers Kokomo is that their reputation as one of the finest ‘groove’ units ever to come out of this country has remained largely intact. Unlike rather better known contemporaries and touring mates, Kokomo’s status hasn’t been devalued by playing endlessly as something of a tribute to themselves with increasingly suspect line-ups and nor have Kokomo suffered the pressures to remain relevant to changing musical trends and industry whims. No dodgy 80′s drum-machined, synthetic-horned, embarrassing ‘trend’ following albums in this particular back catalogue, thank you very much.
Instead, beset by internal conflicts and other problems, Kokomo simply imploded when all seemed set fair. One or two low key re-unions aside, the band – if certainly not the individual players – has been inactive ever since. So who are Kokomo? Well, they were – and still are, but we’ll come to that – one of the, if not the, finest ‘groove’ units that this country has ever produced. In keeping with many legendary American bands from that period, such as the The Band and Little Feat, Kokomo gained a reputation based not so much on their versatility or musical vocabulary, good as it was, but one based more on the band’s distinctive ‘sound’ and ‘feel’. A ‘sound’ and ‘feel’ which in their case owed much to, without being solely derivative of, ‘old school’ American r&b, soul, gospel and groove based rock.
Formed in May 1973, Kokomo’s first performance was at The Pheasantry, King’s Road, Chelsea where Franky Blackwell, the band’s roadie, coined the band’s name. Their reputation quickly spread and a major label deal was nailed. The band’s debut, Kokomo, released in 1975, was hailed by the NME as the best debut by a British band for several years. The original ten-piece line-up consisted of a trade mark vocal sound using four vocalists: Dyan Birch, Frank Collins, Paddy McHugh and Tony O’Malley (also keyboard duties), all from the band ‘Arrival’, two top ten hits to the good. A key axis of Alan Spenner (bass) and Neil Hubbard (guitar) were recruited from Joe Cocker’s Grease band; Mel Collins (saxophone) from King Crimson. Percussionist Jody Linscott (who went on to tour with The Who, Elton John, Dave Gilmour and more), Terry Stannard (drums) and Jim Mullen (guitar) completed the line up. Such was the unit’s skill and reputation that Bob Dylan recruited the band to help record his Desire album. Despite seemingly having it all in place – including being seen as a priority for their label (CBS) enjoying a top manager (Steve O’Rourke, who also managed Pink Floyd), and making increasing in-roads into the lucrative American market – by January 1977 the band’s meltdown was such that an indefinite hiatus was announced.
After an extended sabbatical, a further studio album was released in 1982, containing the single A Little Bit Further Away which peaked at Number 45 in the British chart. By and large, that was then that, further compounded by the tragic premature death of influential bassist Alan Spenner in August 1991. The band’s enduring pedigree is, however, evidenced by how many of the original members have gone on to enjoy considerable success in their subsequent careers. Jim Mullen is now a much feted award winning jazz guitarist, Hubbard a regular fixture with Bryan Ferry, Linscott continues to work with everyone from McCartney to Will Young and Mel Collins sax work has graced albums and gigs by Dire Straits, Eric Clapton, and the Rolling Stones, to name but a few.
To some extent the The Kokomo torch has continued to be carried by the solo career of co-founder Tony O’Malley (himself briefly a member of 10cc). Whilst O’Malley maintains his integrity as an originals artist, regularly releasing new work, a number of his former Kokomo bandmates have informed much of both his live and studio work, alongside other legendary sidemen such as Hamish Stuart (Average White Band, Chaka Khan, McCartney), Pino Pallidino (The Who, D’Angelo) and Andy Newmark (Sly Stone, John Lennon).
Indeed, it was some recent ‘Tony O’Malley and Friends’ gigs which brought the whole Kokomo experience back into the spotlight. Two back to back sold out gigs at London’s famed 606 club and The Chichester Inn, followed by a later gig at the prestigious Hideaway club, saw O’ Malley take to the stage, by turns, alongside not only regular sidemen Neil Hubbard and Mel Collins but also original singers Frank Collins, Paddy McHugh (over from France) and Dyan Birch. These six original Kokomo members were augmented by the revered engine room of bassist Steve Pearce (whose CV is like a ‘whos who’ of popular music, Stevie Wonder included), drummer Ralph Salmins (ditto) and guitarist Adam Phillips, all noted sidemen with Hamish Stuart’s much admired band. Emerging and highly rated young soul/blues singer, Jo Harman, augmented the line up at each gig which, whether by happy accident or design, collectively nailed both the spirit and sound of the original Kokomo vibe.
Mel Collins, Neil Hubbard at the 606 Club, 2011
Anyone who was there – and legendary drummer Steve Ferrone was one – will bear witness to these very special and extraordinary gigs indeed. Lead by O’Malley’s distinctive ‘down home’ piano style – not a thousand miles away from that of Ray Charles, at times – the ensemble joyously ploughed through an amazing two and half hours of uplifting and heartfelt music. O’Malley handled most of the lead vocal duties with due aplomb, his famous trademark growl ‘owning’ classics like ‘Lovely Day’ and ‘Tears in Heaven’ as much as his own compositions such as ‘Serious’, ‘Mr Operator’ and ‘For The Children’. At the 606 Dyan Birch’s took over lead vocals on ‘Yes We Can Can’ and Frank Collins impressed likewise on the joyous gospel romp that was ‘Gone At Last’.With the engine room of Pearce, Salmins and Hubbard (also excelling on co-lead guitar) creating a pillow of groove so satisfying and spacious that you could lie on it, this was ensemble playing of the highest quality. Mel Collins blew by turns, melodically and bluesely, and the four vocalists weaved and teased, occasionally joining together with full on gospel fuelled intensity.
The individual diary commitments and the fact that O’Malley, like McHugh, now resides in Europe, somewhat ensures these ‘reunions’ largely remain as rare as hens teeth. Which is a genuine shame because although there are many fine soulful musicians in this country, no one but no one grooves quite like how ‘Kokomo’ groove. These chaps are, collectively, somewhat akin to Motown’s ‘funk brothers’ in they have a definable, discernible sound unlike no other. Perhaps one day they’ll be equally revered and respected – are you watching BBC4?. In any event this is British r&b royalty in action, they really don’t make musicians like this anymore.
your enthusiasm is noted. but the author has apparently only recently stumbled upon kokomo. there are frequently repeated errors here.
for one, dylan didn’t “recruit” the band — he had no idea who all those brits were who filled the studio that night. and the result, as anyone who heard it knows, was useless.
but above all, and this could be news to the author, kokomo was spenner’s band. he led the thing, he usually chose the material and he was the real heart & soul of the thing. he was the engine, etc. he was the genius. the band ran on his timetable.
and they were incredibly wonderful — until o’rourke got ahold of them. the best band in london until crucial members started getting fired. and the power trips began.
the humorless o’malley, who was usually kept off to the side of the stage where his ego grew into the mutant life form we know today, was part of the rhythm section. he was one of many vocalists. that’s what gave the initial — and best — kokomo lineup so much personality. almost everyone in the band took a lead vocal now and again — and each was unique. spenner on “new morning,” speaking of dylan, was a show-stopper.
so, yeah, keep up your efforts, for whatever they’re worth. o’malley, as you shall see, is a very tough sell.
Interesting comments. I guess you haven’t been round to O’Malleys for tea recently? Whatever the truths and the in’s and outs – and I bow to your superior knowledge on many things no doubt – O’Malley can’t be so much of a monster otherwise why would so many of the cream of the Uk – and wider – groove community wouldn’t be working with him for love and little money? Although I for one never met/knew him there is no doubt of Spenners reputation and a tragic loss to all i’m sure.
The music that Kokomo made back in the day was fantastic. I always remember picking up the first album around the same time as getting into AWB and playing it to death. After attending Tony O’Malley/Kokomo’s recent gig at the 606, I can testify that the vibe is back and in full effect. Most of these guys, apart from the “newer” floating band members are pushing 60 (or older), but their enthusiasm for playing the music and their ability to whip out some cracking, heartfelt renditions of the old tunes plus grooving mightily on the newer material was, and is, plain to see. The atmosphere at the recent gigs has been incredible. All you need to do is look around the audience (of very varying ages) to see everyone just digging these guys and having a great time.
Yes, Alan Spenner sadly passed away in 1991, but I don’t think for a second his contribution and lhis importance in Kokomo has ever been in question, nor will it ever be forgotten by his former band members. There’s always going to be political and personal shenanigans going on within bands. Being in a band and playing music requires an emotional commitment and therfore an emotional contact with each other that goes beyond the realm of the day to day. Ask anyone who experiences or has experienced that.
I stumbled across this blog by accident and was pleased to read something that was well written and well informed about Kokomo. There’s precious little elsewhere on the net. More importantly, the author has an enthusiasm and positivity about his subject that not only gives us historical context but, more importantly, gets across an accurate impression of where these guys are at this moment in time.
Crashed Mommy’s response seems to be a negative swipe at issues that are obviously stuck in the past…..a former band member, or someone previously connected to the band with an axe to grind perhaps? I would suggest that he or she put their predjudices to one side and go and see O’Malley and the gang live. This is not just about respect for the past legacy of Kokomo but also about taking this music to the streets in the here and now. It’s a shame to see such a negative response about music that still speaks from the soul.
well said. Interesting post!